The film with which Paul Verhoeven literally screwed Hollywood, and then did an encore after its revision by those who destroyed Showgirls and Elizabeth Berkley’s career, is undoubtedly Basic Instinct (1992). This film became not only the director’s calling card but also a cultural phenomenon that redefined the erotic thriller genre, setting new standards for provocation and commercial success in American cinema. Verhoeven, a Dutch director with a reputation as a master of shock, created a film that simultaneously stunned, captivated, and sparked heated debates, leaving an indelible mark on pop culture. His audacious approach to depicting sexuality, violence, and psychological intrigue made Basic Instinct iconic, but it was his subsequent film, Showgirls (1995), that became the target of vicious criticism, destroying the career of young actress Elizabeth Berkley and nearly tarnishing Verhoeven’s reputation. However, years later, the reevaluation of Showgirls by audiences and critics allowed the director to "return for an encore," proving that his provocative style was not a mistake but a bold experiment ahead of its time.

Basic Instinct: The Birth of a Phenomenon

Paul Verhoeven, already known for his Dutch films such as Turkish Delight (1973) and Soldier of Orange (1977), as well as Hollywood hits like RoboCop (1987) and Total Recall (1990), arrived in Hollywood with a reputation as a director unafraid to push boundaries. Basic Instinct, written by Joe Eszterhas, became his most ambitious project at the time. The story of detective Nick Curran (Michael Douglas), who investigates the murder of a rock star and becomes entangled in a dangerous game with the suspect, writer Catherine Tramell (Sharon Stone), captivated audiences with its explicit sexuality, intense intrigue, and morally ambiguous characters. The film’s pivotal moment—the infamous interrogation scene where Catherine Tramell, crossing her legs, reveals she’s not wearing underwear—entered cinematic history as one of the most provocative and memorable scenes. This moment, according to Sharon Stone herself, was filmed without her full awareness of how it would appear in the final cut, sparking debates about the director’s ethical responsibility. Nevertheless, this scene cemented the film’s cult status and catapulted Stone to global stardom. Basic Instinct grossed over $350 million worldwide on a $49 million budget, becoming one of the most successful films of 1992. Verhoeven masterfully used the language of cinema to create an atmosphere of constant tension. His cinematography, executed by Jan de Bont, combined cold, sterile tones with sensual visuals, emphasizing Catherine’s duality—both refined and dangerous. Jerry Goldsmith’s soundtrack added a sinister depth, heightening the sense of menace that permeates every scene. Verhoeven didn’t just make a thriller—he crafted a work that simultaneously celebrated and deconstructed Hollywood clichés, forcing viewers to question the nature of desire, power, and manipulation.

The Fall: Showgirls and Elizabeth Berkley’s Downfall

After the triumph of Basic Instinct, Verhoeven decided to push even further with Showgirls—a film intended as a satire of the Hollywood dream and the entertainment industry but instead became one of the most notorious flops in cinema history. The script, again penned by Joe Eszterhas, followed Nomi Malone (Elizabeth Berkley), a young dancer who arrives in Las Vegas with dreams of becoming a showbiz star. The film was filled with explicit scenes, violence, and drama, but its tone was too grotesque for mainstream audiences, and its satirical subtext went unnoticed. Elizabeth Berkley, previously known for the teen series Saved by the Bell, was cast in the lead role, and her bold decision to play Nomi proved fatal. Critics and audiences pounced on the film, calling it vulgar, overly sexualized, and devoid of meaning. Berkley, who poured her energy into portraying an ambitious yet vulnerable heroine, became the primary target of ridicule. Her performance was criticized as overly expressive, and scenes like the infamous pool dance became objects of mockery. Her career was effectively destroyed: after Showgirls, she never landed another major film role, and her name became synonymous with failure. Verhoeven himself suffered as well. The film received an NC-17 rating, limiting its distribution, and grossed only $20 million against a $45 million budget. Critics called Showgirls tasteless and crass, accusing Verhoeven of going too far in his quest to shock. However, the director insisted the film was intended as a satire, mocking capitalism, greed, and the hypocritical morality of show business. Unfortunately, in 1995, audiences weren’t ready for such an approach, and Showgirls became a symbol of failure.

The Revival: Reappraising Showgirls

Years after its failure, Showgirls began to gain cult status. In the early 2000s, the film became popular at midnight screenings and among fans of camp, who saw it not as a flop but as a daring experiment. Critics like Jonathan Rosenbaum began reevaluating their stance, noting the film’s satirical sharpness and boldness in exposing the underbelly of the American dream. Showgirls came to be seen as an intentionally exaggerated work that used excess to highlight the absurdity of the pursuit of fame. Elizabeth Berkley, whose career never fully recovered, began receiving recognition for her courage. Her performance, once ridiculed, was now viewed as part of the director’s vision—Nomi was meant to be excessive to reflect the absurdity of the world she inhabited. In interviews, Berkley noted that despite the pain of the criticism, she was proud of her work and the risk she took. Verhoeven, in turn, used the reappraisal of Showgirls as proof of his vision. His "encore" came not through a new film but through the acknowledgment that his approach had been misunderstood. In 2016, his film Elle, starring Isabelle Huppert, received rave reviews at the Cannes Film Festival, confirming that Verhoeven remained a master of provocation, capable of balancing art and shock. This film showed that he hadn’t lost his ability to create complex, morally ambiguous female characters, a thread that began with Basic Instinct.

Verhoeven’s Legacy Paul Verhoeven remains one of the most controversial figures in modern cinema. His films are not mere entertainment but challenges to societal norms, exploring the boundaries of morality and art. Basic Instinct and Showgirls are two sides of the same coin: one a triumph, the other a failure that became a different kind of triumph over time. Both films showcase how Verhoeven uses sexuality and violence not for shock but to expose human weaknesses, fears, and desires. Elizabeth Berkley, despite the tragedy of her career, became a symbol of how Hollywood can destroy those who dare to break its rules. Her story is a reminder that provocation in art requires courage but isn’t always rewarded. Verhoeven, on the other hand, survived the criticism and proved that his approach to filmmaking was not a mistake but a step forward. Ultimately, Basic Instinct and Showgirls are part of a cultural legacy that continues to spark debate and inspire. Verhoeven didn’t just "screw Hollywood literally"—he forced it to look in the mirror, revealing the greed, manipulation, and vulnerability behind the glamour. His "encore" is not only the reappraisal of Showgirls but also his ability to remain relevant, continuing to create films that challenge expectations.